Perception and pictures. Theoretical foundations of the process of perception by preschool children of works of painting Perception of painting

The perception of art is an extremely subjective thing. The processes taking place in a person during perception are diverse and hardly amenable to forecasting, not easy to study. It seems unlikely to calculate in advance the success or failure of a work, although since ancient times attempts have been made to discover a certain elixir of beauty. I must say, the attempts were not unsuccessful. Currently, there is a whole set of laws and rules, adhering to which, the creator is able to create works that meet aesthetic requirements.

The perception of works of art presupposes vigorous activity, for which appropriate training is required. The development of artistic perception includes the solution of the following basic educational tasks:

• a) the development of responsiveness to the work;
• b) the development of the ability to express their attitude to the work;
• c) expanding the volume of knowledge and ideas about art.

Feelings, passions, emotions are transformed, a metamorphosis of feelings is created, they rise above the individual, generalize and become public.

The main thing is the movement of feeling, which consists in the fact that the emotional, affective content of the work is in two opposite directions, tending to one point, in which, as it were, a short circuit occurs that resolves the affect: the feeling is enlightened, catharsis.

Painting is one of the types of plastic (fine) arts. Plastic arts are objective, represent volume-spatial structures that do not develop in time, real or imaginary. Painting reproduces objects and phenomena with the help of paints and is a fine art. When the author goes into the realm of the non-objective, figurative (abstractionism), his works cease to be an accessory visual arts, and, therefore, should be considered and analyzed, say, as works of decorative and applied.

One of the most important properties of works of art is their emotionality, the ability to evoke an emotional response and empathy in the viewer. At the intuitive, psychophysiological level, art is perceived due to the adequacy of people's reaction to certain combinations of color spots and lines. There are associative parallels to life experience. Leonardo da Vinci considered painting to be a kind of music, comparing paint to visible sound. The energy of a work of art is manifested in the nature of the painting: color, texture, composition, drawing. The works of Van Gogh have a powerful energy charge.

All sorts of horror stories, such as showing anatomical theater under the guise of art, in fact, are not such. Other in the works of painting: for example, "The Scream" by E. Munch. Looking at this piercing work, you do not feel fear, but empathize. The emotional response is ennobled.

In the works of the Lithuanian artist and composer K. Čiurlionis, there is no real image of the world - vague images, only a hint of reality, but each work attracts, excites, evoking vague premonitions and expectations. The emotional response to his work is so strong that the lack of knowledge of the craft is not conspicuous. Not the plot is perceived, but rather general atmosphere works.

The plot is secondary in the painting. The general impact of the work through the visual analyzer is what is most important. Associativity and mystery are the most important components of art.

Perhaps, the Wanderers are not interested precisely because their works are ingenuous, the documentary is continuous, and does not imply associativity. There is no mystery. Hence, the emotional response from the viewer is minimal. In addition, the drawing for many is not perfect, the composition is loose, the painting is sluggish. There is not even a hint of artistry. That is, knowledge of the craft is far from being a master. Try to rebuild your eye and abstract from the plot, try to see in their works only the music of spots and lines. You won't see her. She is absent.

Philosophers, starting from antiquity, have dealt with issues of perception of works of art. Aristotle understood the impact of art as the purification of the soul with the help of the affects of compassion and fear.

Until the end of the 19th century, a kind of unity reigned in society, among philosophers and artists: art fed on reality and reflected it in its works. The representative of the German Enlightenment G. E. Lessing in his treatise "Laocoon" notes the main difference between verbal and visual arts: visual arts are spatial, and verbal (poetry) is temporary. Affirms the primacy of beauty. The ugly has no place in art. Art should delight the eye or ear. Yuri Boreev writes: “Goethe distinguishes three types of artistic perception:

• 1) enjoying beauty without reasoning;
• 2) judgment not enjoying;
• 3) delight in delight in judgment and delight in delight in reasoning

The third type of artistic perception is adequate to the nature of a work of art ... ". Further, Boreev argues that for modern aesthetics and art theory it is important to understand that the impact of a work in different eras, in different receptive groups it is not identical, artistic reception is determined by objective socio-economic prerequisites, depends on the subjective characteristics of the recipient and the objective artistic qualities of the work of art, on the artistic tradition from public opinion. Subjective aspects of perception are determined by the individual characteristics inherent in a given person: talent, fantasy, memory, cultural preparation of the mind and feelings. The readiness of the recipient for artistic perception depends on his personal experience, from what he learned from books, gleaned from other areas of art.

In culture, there is a "deformation" of the value and meaning of a work of art from era to era. An important psychological factor in the perception of art is the reception attitude, based on the previous cultural system, historically fixed in our minds. The enjoyment of art is the result of overcoming its conventions, comparing the artistic with the real, recognizing the real in the conventional. The intensity of artistic perception and enjoyment is proportional to the orderliness and complexity of the artistic phenomenon. Experimental study of artistic reception began at the end of the 19th century.

The gap, the loss of connection between the viewer and the artist, can be attributed to the beginning of the twentieth century, when such trends in the visual arts as Cubism, abstractionism and other currents of modernism emerged. The viewer ceases to understand the artist. Reality disappears, and the pseudo-reality that the creators of the new art are trying to create is incomprehensible to the viewer. Lost language for communication - pictorial.

Ortega y Gasset in his work "Dehumanization of Art" examining art from a social point of view, comes to the conclusion that the new art divides people into those who understand it and those who do not. It initially appeals to a select minority - hence the irritation that causes the masses. According to the author, at present there is a new aesthetic feeling in the world, a tendency to dehumanize art. If an artist of the 19th century truly reflected reality, "humanized an object", then contemporary artist avoids reality, boldly deforms it. “He leaves us locked in an unknown world, makes us communicate with things, the connection with which is unthinkable for a person ... Aesthetic pleasure for a new artist arises from the victory over the“ human ”... the content, the most refined endowment is necessary. " Justifying the dehumanization of art, the author says that the perception of "living" reality and perception art form fundamentally incompatible, because each of them requires a different adaptation of the organs of perception, without explaining, however, what this different adaptation consists of.

A. Gellen believes: “The painting tells us something thanks to its stable meaning, thanks to its objective meaning. On the contrary, an ornament devoid of meaning is completely mute. Abstract paintings are completely speechless ... ". Trying to comprehend the modern painting of G.-G. Gasset writes about the painting's numbness.

If we abandon the idea of ​​humanizing art, then this will inevitably and quickly lead to the end of both culture and civilization.

According to the statements of Albert Camus from his "Rebellious Man": "Artistic language, destroyed by irrational negation, turns into incoherent delirium ... The artist must avoid both formalistic antics and the totalitarian aesthetics of realism."

Karl Kantor in his book “Thousand-Eyed Argus” writes: “If there were no contradictions between the phenomenon and the essence, between the visible and the invisible, if truth directly coincided with the form of its manifestation, neither science nor art would be needed. Painting removes the primary contradiction inherent in nature itself between the visible and the invisible, but it does not eliminate at all; moreover, painting itself rests on this contradiction, that is: the more realistic the painting, the more it is symbolic, the more it excludes its literal perception.

There is no art more difficult than realistic painting. Paintings of Leonardo, Bruegel, Rembrandt, Goya, Cezanne, Picasso tend to "not let" in themselves. Indeed, it is not so easy to understand, for example, that Cezanne's still life with apples “is not Cezanne's understanding of apples outside the picture, but an understanding of something through these depicted apples, or rather the generation of understanding by them of something else. Cezanne "thinks with apples" - something is realized in the mind, to which we will not lead simply by the attention of our eyes. " Long passive-contemplative standing in front of the picture will not help here. We need inner spiritual fulfillment, independent work of thought, and not just looking.

In order not to get any impressions from the painting, it is enough to look away from it, but in order not to get any impressions at all, so as not to get stuck on recognizing the similarity to what is, to what was in other paintings, to what, what is customary and accepted, and to penetrate through the visible into the invisible (led), one needs the ability to comprehend, and especially subtly developed when the “visible” of realistic painting seems to be “illusionism” (which, of course, does not exclude the existence of illusionism in painting, which is does not have) ".

Perception is the simplest and the best way cognition, However, there are other forms of cognition, of which we have considered three. The use of devices in the process of cognition includes extremely small and very distant objects in the sphere of perception. With the help of devices, one can obtain knowledge in metric form. Language gives implicit knowledge an explicit form. It allows you to record in writing the observations accumulated by previous generations and put them together. Pictures as a means of cognition expand the boundaries of perception and facilitate the unification of its various aspects. [...]

The picture is not like perception. Nevertheless, the picture is in some sense more like the perception of an object, place or person than their verbal description. It is believed that the illusion of reality is possible. They say that a painting can reach such perfection that the viewer will no longer be able to distinguish a canvas processed with paints from a real surface that the painter saw. One - about a Greek artist, so skillfully depicting grapes that birds flew to peck him, and another, in which the rival of this artist defeated him. He so naturally depicted the curtain on the canvas that even the artist himself tried to raise it. The legend of [...]

The perception of pictures is a type of perception, in the process of which (in contrast to direct perception and partly perception mediated by devices) it is impossible to be convinced of the reality of the perceived content. Nevertheless, pictures can penetrate the rich reality of the natural environment much deeper than words. There is nothing further from the truth than the claim that paintings are the frozen forms of our experience. Pictures can teach us a lot, and at the same time much less effort is required from us than reading books. The perception of pictures differs from ordinary perception, that is, from first-hand perception, but still it is more like ordinary perception than speech perception. [...]

So, a painting is a surface treated in a special way, which ensures the presence of an optical order of frozen structures with their depth invariants. The cross-sections of the visual angles of the tuning have a definite shape, while the invariants have no shape. The structure of the picture is limited, that is, it is not inclusive. This is a time-suspended system (the exception is cinema, which will be discussed in the next chapter). There are many different surface treatments available to provide formation. You can change the ability of a surface to reflect or transmit light by painting or painting on it. You can use engraving or some other treatment to change its relief and create shadows on it. Finally, you can create a picture on a surface for a while by projecting light onto it. In the latter case, we call the surface itself a screen, and the object that casts shadows is a projector. These basic methods of creating an artificial optical system were discussed in my previous book on perception (Gibson, 1966b, ch. I). Whatever, however, the artist uses the method of surface treatment, he still has to place the treated surface among other surfaces of the surrounding world. The painting can only be seen surrounded by other surfaces that are not paintings. [...]

I developed an interest in paintings and cinema during the war, when, as a psychologist, I took part in teaching young people to fly. In 1940-1946, millions of Americans had to master these completely unnatural skills. The possibilities of visual education, so to speak, made a strong impression on me. You cannot tell the student how to fly; you can't let him learn it by trial and error. One could teach with simulators, but it was too expensive. I had to try to show them how they fly. Of course, if the stimulus situation could be simulated, they could learn without risking crashing. The literature on visual learning has proven useless. As noted above, over the course of 20 years, I have rejected several definitions of the painting one after another. One of my students wrote the book The Psychology of Picture Perception (Kennedy, 1974), which can be seen as the first step towards solving this problem. [...]

The holistic perception of the visible picture could be disturbed not only due to defects in the visual field, but also due to the formation of successive images, which are peculiar traces of previous retinal irritations (Balonov, 1971), which under certain conditions can be observed for a long time ( tens of seconds and minutes), only gradually fading away. Traces left on the retina can certainly interfere with perception. new information... Therefore, there must be a mechanism that "erases" these traces. There is every reason to believe that the automation of saccades is just one such mechanism. It has long been noticed that with eye movement, successive images become less intense, their duration decreases, or they disappear altogether. Moreover, eye movements not only "erase" the already developed sequential images, but also prevent their emergence. Saccades, “erasing” sequential images, “keep” the visual communication channel in “alert” [...]

A completely different picture is seen by a person on the left side of the same bridge, where a panorama of the Kremlin opens up to his eyes (Appendix 1, Fig. 23). First of all, the color scheme pleases: a bell tower with a golden dome, a Kremlin wall with turrets and a Kremlin palace in the back. The eye jumps from one element to another and each time "he knows" where he is looking and what he sees. After each saccade, the eye has the opportunity to firmly engage. The architect, apparently, was exactly what he wanted. Comparing these two photographs, one gets the impression that these two complexes were built according to different aesthetic criteria: in one, artistic design prevailed, and in the other, an engineering approach. Naked rationalism in architecture, as we can see, is in complete contradiction with the laws of visual perception. [...]

To understand a picture, it is necessary, firstly, a direct perception of the surface of the picture and, secondly, an indirect awareness of what is painted on it. This duality of understanding is inevitable under normal observation conditions. The eye cannot be “deceived, the illusion of reality still does not arise. [...]

When we look at, say, Niagara Falls rather than the painting that depicts it, our perception will be direct, not mediated. It will be mediated in the second case, when we look at the picture. Thus, when I argue that the perception of the surrounding world is direct, I mean that it is not mediated by any image - neither retinal, nor nervous, nor mental. Direct perception is a special type of activity aimed at obtaining information from the ambient light structure. I call this process information retrieval. For its implementation, it is necessary that the observer actively move, look around and examine the objects of the surrounding world. This process has nothing to do with obtaining information from signals arriving at the input of the optic nerve, whatever they may be. [...]

The book is easy to read and with great interest, despite the complex material and sometimes specific terminology. The clear, logical structure of the book contributes to the ease of perception of the material. Part I deals with environmental problems in the world and in the Czechoslovak Socialist Republic, with special attention paid to the consideration of the problems of the European continent. Having carried out, as it were, a classification of the problems facing in this area, the author in the second part analyzes the problems in the process of interrelation and mutual influence of individual elements of the environment. Here we get to know the relationship of a person with environment, the relationship between the elements of the environment in settlements, etc. The author shows a complex, interconnected picture of the human environment, carrying through the entire book the idea of ​​the need for an integrated, systematic approach to solving an acute environmental problem. [...]

In conclusion, we note that a picture always presupposes two modes of perception - direct and mediated - that run parallel in time. Along with the direct perception of the surface of the painting, there is an indirect awareness of virtual surfaces. [...]

It has long been known that it is possible to create the appearance of overlap in paintings. The same effect can be achieved with the help of other means of showing a frozen order. The discovery of Rubin became widely known, showing that the image of a closed contour or figure entails the appearance of a background, which is perceived as something integral, extending behind the figure. But all such demonstrations were associated with the perception of form, with the vision of contours and lines, and not with the perception of obscuring edges of surfaces in a cluttered earthly environment. It followed from these demonstrations that the so-called depth could be recreated by overlay on the painting, but it was impossible to deduce from them that the occluded surface looks constant. [...]

The difficulties associated with the creation and perception of paintings give rise to their own problems that have little to do with the problems of direct visual perception. [...]

The first part of this book is devoted to the perception of the surrounding world. The second part is information for perception, the third part is the actual process of perception. Finally, the fourth part is devoted to painting and the special content of consciousness that arises when we look at pictures. The perception of pictures is put at the end of the book, because it cannot be understood without understanding the encompassing vision and vision in motion. [...]

All the time, while experimenting with paintings, I puzzled over how to formulate the definition of a painting. As my views on optics changed and my work on the theory of perception advanced, this definition also changed. Perhaps the versions of this definition, which I at one time abandoned, are of some interest for history (Gibson, 1954, 1960b; 1966b, ch. 11; 1971). Now I would only defend the last of them. [...]

The main glade is associated with a deep and wide perspective with small ones and forms an interconnected system of all glades. It is desirable that the road network leads to the clearing from different sides for perception from each approach of new landscape paintings.[ ...]

Of course, there are drawings and paintings, however, as will be explained in the fourth part of the book, these are not "forms." It sounded hopeful and promising. They can be ordered in such a way that the differences between each of them will grow gradually and continuously ”(Gibson, 1950b, p. 193). It is not the form as such that is important, but the parameters of its change. And if these parameters were isolated, psychophysical experiments could be carried out. [...]

The author notes that the recorded picture does not fully agree with the theory according to which clear lightning is the subjective perception of an ordinary lightning with a winding (and therefore only partially visible) channel. The luminous segments and dark intervals of the dotted trajectory are located quite regularly, which makes one recall the characteristics usually attributed to clear lightning. However, shown in Fig. 2.16 The photograph cannot be considered absolutely reliable due to the absence of negative information and the lack of information about the conditions of observation. [...]

Numerous studies by V.D. Glezer and his students showed the enormous role of the influence of moving stimuli on visual recognition (Glezer, 1975; Leushina, 1978). It turned out that the movement of the stimulus is a prerequisite for revealing the effect of striation. This effect is not observed with motionless flickering stimuli. The receptive fields responded optimally to high spatial frequencies only when the bands were moving. Consequently, information about high spatial frequencies is transmitted only in the case of a shift in the image in the receptive field. These facts are in good agreement with psychophysiological data. Under conditions of image stabilization on the retina, to see coarse details, it was enough to modulate the contrast of a stationary object with the background in time, while this is not enough to reveal finer details: a prerequisite for their perception is the movement of the image along the retina. Other senses also receive the most information when moving perceived stimuli: auditory, gustatory, olfactory and tactile. It is on this phenomenon that the reading of braille text by the blind is based: moving the finger along the convex points of the text creates the necessary conditions for maximum perception. Attempts to make a mosaic of six stationary vibration sensors, spaced over a long distance, have not been successful. Thus, the automation of saccades arose, from the point of view of evolution, as the need to create a continuous movement of the visible picture in order to obtain the highest information content. In a city where fixed objects (houses, structures) prevail, the importance of saccades' automation is especially great. [...]

The challenge is to understand how the painting provides secondary perception. It becomes even more complex if we consider that the picture can serve as a source of secondary fantasy and aesthetic pleasure, awaken the creative imagination, as well as the fact that the picture allows its creator to think without words TA rrii erm, 1969). [. ..]

What causes a systematically changing picture is closer to natural visual perception than what a stopped picture causes. The transformations that form it, for which there are no suitable words in the language and which are therefore so difficult to describe, are perceived more easily than the well-known frozen forms in drawings and photographs. [...]

Shadow projection is the most flexible and powerful method for studying motion perception. But only now it is becoming clear how to use it to study the perception of events. In our time, the art and production technology of what a man on the street calls "cinema" has reached extraordinary perfection, but for all that there is no discipline that could provide a scientific foundation for them. The creation of moving images — whether they are “living pictures” in movies or computer-controlled beam motion on an oscilloscope — is a sophisticated enhancement to this projection method (eg, Green, 1961; Braunstein, 1962 a and b). I will return to the problem of optical motion simulation in the last chapter of the book. [...]

In these two hypotheses, nothing is stated about perception, they only speak of information that is normally available for perception. They have nothing to do with space, or the third dimension, or depth, or distance. They also don't say anything about two-dimensional shapes or patterns. These hypotheses, however, lay a completely new basis for explaining the perception of volumetric objects that block each other. The object actually imposes volume, and the background is actually continuous. A picture or an image of an object has nothing to do with the question of how it is perceived. [...]

The difference between a metric location ratio and an inclusion ratio can be illustrated as follows. You can agree to set the location of the stars in the sky, counting degrees to the right of the north and up from the horizon. But the location of any star can be considered given, firstly, if it is known which of the constellations it belongs to, and, secondly, if the whole picture of the starry sky as a whole is known. Likewise, optical structures that correspond to leaves, trees, hills are included in other, larger structures. The texture of the earth is, of course, the subtle structures of constellations made up of individual stars and is therefore even less dependent on the coordinate system. If so, the perception of the direction of some particular object on earth, its direction "from here" does not constitute an independent problem. The perception of the surrounding world does not consist of the perceptions of various directions of individual elements of this world. [...]

The final, fifth article in the above series of works on the perception of paintings was devoted to the concept of formless invariants (Gibson, 1973). Contrary to the point of view, according to which the picture cannot simulate any invariants, since there are no transformations without motion. I take the liberty of asserting that the picture still simulates invariants, albeit less pronounced than in the cinema. [...]

The ecology of culture is closely related to social ecology. All the wealth accumulated and materialized by humanity is not limited to purely material values. It includes an array of information organized in a certain way. These are images of cities, parks, libraries, museums, and pictures of “humanized nature”. For each nation or any of its social strata, the entire material cultural world is specific. This creates the preconditions for the development of ethnoecology, which includes the attitude of ethnic groups to natural resources. National specifics is still very visible and should not be dismissed. This also applies to the subtle national spirit, including religious systems. Atheism does not mean getting rid of the pressure of socially assimilated religious dogmas. The ecology of the spirit ”in the composition of the ecology of culture is a very noticeable element and may well be an object of knowledge. National enmity, or at least disunity, sometimes only latent, is the best proof of the urgency of the problems of “ecology of the spirit”. If within a society, its social structure, relations between people are to a large extent the subject of sociology and social psychology, then the whole complex of world perception is closer to the “ecology of the spirit”. True, in this complex there is also an element of human ecology as such - the ecological perception of another, the physical sensation of his presence (sight, smell, manners, etc.). Acceptance or rejection of the other is not just a socio-cultural educated attitude, but also a psychophysiological reaction. [...]

When creating a movie, it is necessary to be guided by how events and the development of these events are perceived. Making a film is not the same as making a painting. The consistent embedding of events into higher-level events is critical. The transitions between episodes must be psychologically sound and the sequence of the episodes must be understood. However, the theory of picture vision and the theory of perception based on the stimulus sequence are poor assistants in the creation of motion pictures. The theory of environmental perception, that is, the theory of perception of the surrounding world, which takes into account the processes of movement and viewing, can help here. [...]

But it is one thing to argue that the use of perspective is not necessary for painting, and quite another that perspective is a language. The latter means that perspective, like the invariants of a picture, is similar to a verbal text and that one can learn to perceive it in a new way with the same success with which we master a new language. However, the nature of the painting is such that the information is contained in it in an implicit form. Invariants cannot be expressed in words or translated into symbols. The drawing conveys the content of consciousness without words. What is captured cannot be squeezed into the framework of statements. In order to describe the perception of the fact that we occupy a certain place in the world around us, we lack words. Of course, writers try to do this, but they cannot transfer you with the help of a painting to another place in the way that painters can do. [...]

The binaural effect contributes to the localization of sound sources due to two factors: the time difference and the intensity difference of the signals arriving in the ears. At the lowest frequencies of the auditory range (below 500 Hz), the direction to the source is determined mainly by the time lag of the binaural effect. At the same time, sources of signals with a frequency below 150 Hz are practically not localized by hearing. The direction to sound sources with a frequency above 500 Hz is determined by both temporal and intensity binaural effects. The localization effect of the sound source is manifested in open space conditions. In the presence of reflected waves, the spatial picture of perception is distorted. [...]

In traditional optics, almost nothing is said about the earth's horizon. The only empirical study on this topic has been carried out from the standpoint of ecological optics (Sedgwick, 1973). Sedgwick showed how an important source of invariant information for the perception of various kinds of objects is the horizon. For example, the horizon cuts all objects of the same height on the ground in the same ratio, regardless of their angular dimensions. This is the simplest form of "horizontal relationship". Any two trees or pillars that the horizon bisects have the same height, equal to twice the height of the observer's eyes. Sedgwick showed that the estimation of the size of an object depicted in a painting is determined by the same relations. [...]

Now I am not ready to answer this question, since for this it is necessary to move to another level of description, and the current discussion about the "communication environment" seems to me lightweight and artificial. In my opinion, there are many-ha = kih f ° Rm- All of them are extremely complex and permeate each other. And yet, it seems to me obvious that there are three ways to arm knowledge, promote perception and expand the limits of understanding = this is the use of devices, verbal descriptions and pictures, Words and pictures act in a completely different way, - not if devices, because in the first case, information is obtained, as it were, from the second hands. Let's consider each of these methods separately. [...]

In addition, we keep in touch with each other by creating images on surfaces (clay tablets, papyrus, paper, wall, canvas or screen), as well as creating sculptures, models or 3D images. The invention of photography, that is, a photosensitive surface that can be placed behind a lens on the back of a dark camera, was revolutionary in image production. In communication of this kind, which we call graphic, or plastic, neither signs nor signals are involved, there are no messages that are clearly transmitted from one individual to another. In the process of such communication, nothing is explicitly transmitted or communicated. Paintings and sculptures are for display. It follows that they contain information and make it available to the one who looks at them. Yet they are as much human creations as the spoken or written words of a language. They deliver information that, like linguistic information, is mediated by the perception of the first observer. With their help, it is impossible to experience impressions, so to speak, first-hand - only from the second.

Perception is a certain stage of the sensory cognitive process - the reflection of objects by man and animals when they directly affect the sense organs, in the form of integral sensory images. The genesis of perception is closely related to the development of visual-figurative thinking, the improvement of the system of ideas and the ability to operate with it quite freely.

Ozhegov in his explanatory dictionary defines the concept of "perception" as a form of sensory reflection of reality in consciousness, the ability to detect, accept, distinguish and assimilate the phenomena of the external world and form their image.

Perception is the reflection of objects and phenomena in an integral form as a result of awareness of their distinctive features. Perception is a certain stage of the sensory cognitive process - the reflection of objects by man and animals when they directly affect the sense organs, in the form of integral sensory images.

Perception is carried out through action, is associated with the examination of the perceived object, with the construction of its image. The concept of perception fixes the direct impact on the sense organs, the formation of holistic images, their solid sensory basis and the course of the process in the present tense, which is preceded by the phase of the past and followed by the phase of the future.

Correct, adequate perception of painting is part of the child's aesthetic perception. Acquaintance with beauty in life and art not only fosters the mind and feeling of the child, but also contributes to the development of imagination and fantasy. It is important that the work of the educator is based on a scientific basis and is carried out according to a specific program that takes into account the modern level of development of various types of painting, in compliance with the principle of gradualness, consistent complication of requirements, a differentiated approach to the knowledge and skills of children of different ages.

In the research of N.A. Kurochkina, N.B. Khalezova, G.M. Vishneva shows that the artistic perception of the picture is formed most fully in the senior preschool age, when children can independently convey a pictorial image, give assessments, express aesthetic judgments and mute. The perception of a picture is a process of direct contact with the environment, the process of experiencing impressions about objects in the framework of the socio-emotional development of the observer. This is a complex psychological process. It consists of the following steps:

Afferent synthesis (analysis of the properties of an object and subject environment, display areas)

Intersensory interaction: when perceiving the object and the objective environment, the display zone, there is a comparison of visual, sound, olfactory and other signals, the interaction of analyzers, training of associative processes and cerebral hemispheres.

As shown by psychological and pedagogical studies (P.P. Blonsky, A.V. Zaporozhets, N.A. Vetlugina, S.L. Rubinstein, E.A.Flerina, P.M. Yakobson, etc.), aesthetic, artistic perception should begin to develop as early as possible, even in preschool childhood.

The aesthetic perception of works of art by preschoolers also has its own characteristics:

The perception of images in art is organically intertwined with impressions and observations in reality. Feelings of joy, surprise, grief, conveyed in the picture through facial expressions and gestures, are captured by children and transmitted by them in statements.

Elder children preschool age are able to express this in judgments about the work as a whole.

Children easily recognize what is depicted and classify it.

Comparisons of what is depicted with what is seen in life appear in the statements of children.

Psychologists (B.M. Teplov, S.L. Rubinstein, A.V. Zaporozhets and others) and teachers (V.A.Guruzhapova, A.A. Jacobson and others) consider the aesthetic perception of paintings by preschool children as emotional cognition of the world, starting with feeling, and later based on the mental activity of a person. At preschool age, it has a specific character, due to age characteristics and is distinguished by emotional spontaneity, an increased interest in the world around, a lively response when meeting with the beautiful and amazing, which are manifested in smiles, gestures, exclamations, facial expressions, in a perceived phenomenon, give it an aesthetic assessment ...

A.A. Lyublinskaya believes that the perception of a child's picture should be taught, gradually leading him to an understanding of what is depicted on it. This requires the recognition of individual objects (people, animals); highlighting the poses and places of the position of each figure in the general plan of the picture; establishing connections between the main characters; highlighting details: lighting, background, facial expressions.

S.L. Rubinshtein, G.T. Hovsepyan, who studied the issues of perception of the picture, believe that the nature of children's answers to its content depends on a number of factors. First of all - from the content of the picture, the proximity and accessibility of its plot, from the experience of children, from their ability to consider the drawing.

Artistic paintings are of the following types:

Object paintings - they depict one or more objects without any plot interaction between them (furniture, clothes, dishes, animals, etc.)

Plot scenes, where objects and characters are in plot interaction with each other. P. A. Fedotov "Fresh Cavalier", A. A. Rylov "Seagulls", N. S. Samokish "Motherhood"

Landscape paintings: A. Savrasov "The Rooks Have Arrived"; I. Levitan " Golden autumn", Spring", "Big Water"; A. Kuindzhi "Birch Grove"; Shishkin "Morning in a pine forest"; V. Vasnetsov "Alyonushka", etc.

Still life: K. Petrov-Vodkin "Bird cherry in a glass"; Mashkov "Ryabinka"; Konchalovsky "Poppies", "Lilac at the Window", etc.

Comparing life and natural phenomena with their reproduction in a picture, the preschooler relies primarily on his own experience. He perceives the picture not only by contemplating, but also effectively, giving preference to some phenomena and objects over others.

The perception of an artistic image in paintings helps to clarify many specific concepts for fine art. Their meaning makes the process of perception more meaningful, interesting, since the child distinguishes expressive means each type and genre of fine art.

In the study by N.M. Zubareva on the aesthetic education of children by means of the fine arts, the following questions are posed: what are the possibilities of paintings, in particular, such genres as still life and landscape. According to researchers, when perceiving painting of different genres, children prefer a painting of a common genre more and less still life and a landscape. The plot picture attracts children with interesting, engaging content. However, they, as a rule, do not pay attention to the aesthetic aspects of the picture. Still lifes and especially landscape painting arouse interest in a child by depicting objects, natural phenomena, color combinations, coloring. In the paintings of the everyday genre, children are attracted by various themes: sports, images of animals. Interest in topics is not the same for girls and boys. Boys are most interested in sports and heroism, while girls are most interested in the animal world. Individual children have a sustained interest in one specific topic. When comparing two works of art on the same theme, but solved by artists in different ways, children give preference to pictures written concisely, conventionally, brightly, using the decorative possibilities of color. However, the conventionality in the image is accepted by children only up to certain limits. The image, bordering on schematism, provokes their protest. Perceiving a still life, children emotionally react to color, notice what colors the artist uses in the picture. Children 5-6 years old, choosing the "most beautiful" picture, are able to be guided by aesthetic feelings caused by the harmony of colors, brightness of colors, their combination.

Landscape painting close to children according to their observations of nature, has an emotional and aesthetic impact, which is manifested in their speech. Children find their poetic images to characterize the perceived phenomenon, using metaphors, comparisons and other means of expression. Poetic text has a positive effect on the perception of the picture, deepening its perception. It helps children to consciously perceive the means of expression used by the artist, to see in them the means of characterizing the image. For the development of children's aesthetic perception of the artistic image in landscape painting, it is important to use the poetry of A.S. Pushkin, I.A. Bunin, F.I. Tyutcheva, S. Yesenina, etc. When children of older preschool age perceive a genre painting, an understanding of the social significance of the content of the paintings develops gradually from the unconscious, dismembered, based on the selection of individual details without interconnection with means of expressiveness to an adequate understanding of the content, motivated by the logical connections of the content of the painting and by means expressiveness. A necessary condition for understanding the social significance of the content of genre painting is personal attitude to the social phenomena expressed in painting. It is an indicator of the emotional perception of genre painting, as well as an important factor in the process of forming the socialization of a preschooler's personality. The style of artistic depiction has a great influence on the perception of works of visual art by children. A laconic, brightly colored picture evokes persistent aesthetic feelings. So, in still lifes, children are more attracted to works that, in their own artistic characteristics close to the works of the masters folk art... Colorfulness and decorativeness, bold, often contrasting color combinations make these works extremely attractive for children. In the painting of the everyday genre, they are more interested in works written realistically, in the landscape - paintings using the decorative possibilities of color. When working with children, it is advisable to use works with different interpretations artistic image: very detailed (A. Laktionov, I. Shishkin, I. Khrutskoy), more generalized (A. Rylov, A. Kuindzhi, I. Levitan), conventionally flat, close to folk art (A. Vedernikov, B. Kustodiev ). V kindergarten must have a selection of fine art reproductions different types and genres. (see Appendix 1)

Thus, the analysis of pedagogical and art history literature made it possible to characterize the process of perception, its types, the process of artistic perception, stages of perception of paintings, to give examples of types of paintings that are available for perception by older preschool children.

Prepared by the educator Arkhipova G.V.

Art is a means of aesthetic education, the basis of artistic education and development of a child. Introduction to it is part of the formation of the aesthetic culture of the individual. Artistic culture is formed in the process of learning about art. Art surrounds a person from the moment of birth and introduces him into the world around him through systems of artistic images and works. Each type of art has its own specific means of expressiveness, which contribute to the imaginative cognition of the world by the child through a variety of forms, colors, sounds. The inner world of a child is vividly presented in works of art created by him. In the process of mastering art, personal properties and qualities develop, the child learns to live according to the laws of beauty. Works of art bring the joy of learning, discoveries, and evoke feelings of delight in beauty. Teaching various types of artistic activity subsequently gives children the joy of creativity, forms an interest in art, which persists throughout a person's life and serves as one of the foundations of the spiritual development of a person.

Taking into account the peculiarities of art (the gravitation of different types of art to interconnection), it is important to use an integrated approach to the study of art by preschoolers. A full-fledged perception and understanding of art by children is achieved on condition of purposeful acquaintance with art as a result of creative activity. Art education is part of aesthetic education. It is inextricably linked with the tasks of aesthetic education, the all-round development of the child. Acquaintance with each type of art presupposes knowledge of the history of art in general, the peculiarities of the language of art (means of expression, materials), and the forms of its work.

Thus, the acquaintance of children with each type of art is carried out and at the same time their relationship, interaction is revealed.

Popular, professional, amateur art stands out. Preschool children have access to the perception and development of folk art in all its diversity, and the regional and national aspects should be taken into account. First of all, familiarity with what is close to the child, surrounds him in everyday life (in everyday life, on the street) is carried out. Family and its traditions are an important factor in creative development. It is advisable, even at preschool age, to give children the opportunity to try their hand at working with different materials (clay, wood, fabric, wool, beads, etc.), as well as in different types artistic activity (musical, visual, theatrical, play).

Acquaintance with professional art presupposes a certain level of mental, intellectual and aesthetic development and at the same time contributes to this development. A middle-aged and senior preschool child should already have access to an understanding of terms, concepts, art history, means of expression, as well as direct perception of works of art (all kinds of exhibitions, theatrical performances).

An important element of acquaintance with art is the independent artistic activity of the child, the organization of special performances. Exhibitions of children's creativity, etc., where the child could show his feelings, thoughts, attitudes, abilities and artistic skills.

In accordance with the concept of aesthetic education, art in the pedagogical process is used in three directions: in the aesthetic design of the developing environment children's institution, in which the life and activities of children take place; in acquainting children with works of art as a phenomenon of national and world artistic culture; in the development of artistic creativity and abilities of children.

Art occupies a special place among other aesthetic values ​​and appears before the people who perceive it in the form of works of art created by painters, sculptors, writers, musicians - all artists in different periods historical development society. It carries in itself a reflection of both existing and long-disappeared things, natural phenomena and people, preserves their images for new generations. Art expands the social experience of man, his interaction with nature and society, other people. This is the manifestation of the communicative function of art. It also contributes to the knowledge of the surrounding world through artistic images in painting, graphics, sculpture, architecture. In the process of teaching and educating children, the educational role of art increases .. Fine art has its own "language", which helps the artist to express his thoughts, feelings, his attitude to reality. The images of art, thanks to the knowledge of the "language", are perceived brightly, vividly, feelings are formed, evoke an emotional attitude to events and phenomena, help to perceive the surrounding reality more deeply.

The introduction to the visual arts begins already at preschool age, when the child receives the first artistic impressions. During this period, he emotionally perceives works of art (painting, sculpture, illustration, decorative items), gradually comprehends their artistic "language". Psychologists note the possibility of early emergence in children of aesthetic perception, which in its development goes through a certain path of formation. An aesthetic attitude to an object provides for a number of cognitive moments and, in accordance with this, the ability to correlate form and content, an artistic image and the depicted object, a skill that can arise only at a certain stage of a child's development. According to psychologists, the perception of works of art goes through several stages of development: from a superficial, purely external grasp of outlines and conspicuous qualities, to the achievement of the essence and depth of artistic content. Only by the older preschool age, in connection with the accumulation of impressions from acquaintance with a wide range of phenomena, with the emergence of life experience, the ability to observe, analyze, classify, compare and other mental operations, the child is able to evaluate the object of art, to see the difference between reality and its depiction ... It is necessary to actively develop the child's aesthetic perception of works of art, teach him to highlight the expressive means of a work of art, of different types and genres.

Perception of painting by children ... Early emotional experiences associated with the perception of art, beauty, often leave an indelible mark on the soul of a child. Over the years, this first, not always conscious, attraction to the beautiful turns into the need to know and understand art. According to researchers, when perceiving painting of different genres, children prefer a painting of a common genre more and less still life and a landscape. The plot picture attracts children with interesting, engaging content. However, they, as a rule, do not pay attention to the aesthetic aspects of the picture. Still lifes and especially landscape painting arouse interest in a child by depicting objects, natural phenomena, color combinations, coloring. In the paintings of the everyday genre, children are attracted by various themes: sports, images of animals. Interest in topics is not the same for girls and boys. Boys are most interested in sports and heroism, while girls are most interested in the animal world. Individual children have a sustained interest in one specific topic. Children 5-7 years old, choosing the “most beautiful” picture, are able to be guided by aesthetic feelings caused by the harmony of colors, brightness of colors, their combination. Children 3-4 years old, perceiving a picture, as a rule, still do not distinguish aesthetic qualities, they are attracted by the ways of image ("because they painted with paints"). A child at this age cannot realize and express in words his emotions, called the elementary aesthetic qualities of the depicted objects. But it is precisely these qualities that attract him, influence and cause joyful emotions. Landscape painting is close to children in their observations of nature, it has an emotional and aesthetic impact, which is manifested in their speech. Children find their poetic images to characterize the perceived phenomenon, using metaphors, comparisons and other means of expression. Poetic text has a positive effect on the perception of the picture, deepening its perception. It helps children to consciously perceive the means of expression used by the artist, to see in them the means of characterizing the image. A necessary condition for understanding the social significance of the content of genre painting is a personal attitude towards the social phenomena expressed in painting. It is an indicator of the emotional perception of genre painting, as well as an important factor in the process of forming the socialization of a preschooler's personality. The style of artistic depiction has a great influence on the perception of works of visual art by children. A laconic, brightly colored picture evokes persistent aesthetic feelings. In kindergarten, it is necessary to have a selection of reproductions of fine art of different types and genres.

Children's perception of graphics... The first books with bright, beautiful illustrations by artists open a window for the child to the world of living images, to the world of fantasy. A young child reacts emotionally when he sees colorful illustrations, he presses a book to himself, strokes the image in the picture with his hand, talks to the character drawn by the artist as if he were alive. This is the enormous power of the impact of graphics on a child. It is specific, accessible, understandable to preschool children and has a tremendous educational impact on them. Psychologists, art historians, teachers noted the originality of children's perception of graphic images: gravitation towards colorful drawing, moreover, with age, they give more preference to real color, the same is noted in relation to the requirements of children for the realism of the forms of images. In older preschool age, children have a negative attitude to the conventions of the form. The perception of works of graphic art can reach varying degrees of complexity and completeness. It largely depends on the preparedness of a person, on the nature of his aesthetic experience, range of interests, psychological state. But most of all it depends on the work of art itself, its artistic content, ideas. The feelings it expresses. Looking at the illustration, preschool children not only emotionally respond to color and shape, but also comprehend what is depicted. The artistic image in illustration is perceived by children actively, emotionally. With their movements and gestures, preschoolers often imitate the characters; they are curious about the unusual pose, the expression on a person's face. The form, manner of drawing affect the nature of perception, the depth of observation. Perceiving illustrations, the child mentally participates in the actions of the characters depicted on them, experiences their joys and sorrows. Illustrations, where artists use conventional techniques, distort the form, grossly violate the composition of the drawing, children reject it, express dissatisfaction. When illustrations are of interest, children show a desire to tell, describe what is shown in the picture. Children are especially fond of illustrations in books about animals; they prefer drawings depicting animals, in which complete similarities are conveyed. Illustration as a kind of art is closely related to the book. The ability to perceive it in unity with the text is one of the indicators of aesthetic perception, since a graphic image makes it possible to see and understand the content of a poem, story or fairy tale. It is not by chance that children choose books with illustrations and themselves try to “read” with their help. The aesthetic perception of an illustration is manifested in the child's ability to describe the depicted action, to understand the relationship between the characters, the heroes of the work. The importance of illustrations in a children's book should be highly appreciated, since viewing it begins another stage in the cognition of the environment, children willingly follow the artist into the new world of living images, fiction, a combination of the real and the fabulous. They are interested in this process, in this game of fantasy and imagination.

Perception of sculpture by children... In the surrounding reality, children encounter sculptures of various types (monumental, easel, small sculptures). When perceiving a plastic image, they learn to understand the specifics of the “language” of sculpture, since it gives a three-dimensional image of an object in real space, enriches the child with new ways of artistic vision. Unlike painting, graphics, sculpture images have real volume and specific material. This causes the perceiver to feel a sense of weight, heaviness, a desire to touch the sculpture, to understand the plastic pose, the rhythmic composition. Taking into account the age characteristics of preschool children, it is advisable, first of all, to use small sculptures animalistic genre... Animal sculptors emphasize the psychological characteristics of the animal, reflecting its inner world (works by V.A.Vatagin), or they tend to emphasize the decorative, plasticity of forms (works by I.S. For the development of aesthetic perception, it is necessary to know the artistic "language" of the sculptural work. When examining sculptural figures, children prefer sculpture, which naturally conveys the image of an animal. Lack of knowledge about the specifics of the artistic "language" of sculpture often leads children to wrong judgments. For the development of creativity in the visual activity, not only skills and abilities are important, it is necessary to teach the child to aesthetically perceive the images of art of different types and genres. For this purpose, works of fine art are used in kindergarten, but acquaintance with them is most often carried out by looking at reproductions, illustrations, slides. Children's interest in sculpture is manifested in facial expressions, active actions, and examinations. They can independently characterize the sculpture, understand the plasticity of movement, the expressiveness of color. Perceiving the form during a specially organized examination, the child remembers it with the help of muscular feeling and at the same time learns some ways of depicting objects and figures.

Basic knowledge about sculpture makes it possible to draw conclusions, reason, compare plastic images. The variety of sculptural materials (stone, wood, metal, ceramics) significantly enriches the sensory experience of children, and the small size of small sculptures makes it accessible to every child. Sculpture of small forms of the animalistic genre not only aesthetically enriches older preschoolers, but also gives them the opportunity to gain new knowledge about animals. To a large extent, this is facilitated by modeling classes, drawing up creative stories on sculpture, in the process of which the formation of initial judgments and aesthetic assessment in children takes place. In conclusion, it should be noted that only the complex impact of the fine arts of all types and genres will contribute to the harmonious development of the child's personality, his aesthetic perception, artistic abilities in creativity.

Art not only delivers aesthetic pleasure, it introduces one of the most difficult arts that everyone needs to master - the art of seeing the world. Art helps to understand the world around us deeper, to feel brighter and to notice more. Thus, art is a special form of knowledge and education.

Early emotional experiences associated with the perception of art, beauty, often leave an indelible mark on the soul of a child. Over the years, this first, not always conscious, attraction to the beautiful turns into the need to know and understand art.

V.N. Shatskaya believes that children of preschool age cannot yet fully appreciate the depth of highly artistic works and their artistic significance, but they remember a lot. Research by domestic authors on the peculiarities of the perception of art by preschoolers (A.V. Zaporozhets, N.S. Karpinskaya, N.A. Vetlugina, V.A.Ezikeeva, T.A. Repina, A.N. Leontyev, B.M. Teplov , N.P.Sakulina, E.A.Flerina, E.G. Kovalskaya and others) convincingly prove the inconsistency of the judgments of some foreign authors about the inaccessibility of children's perception of works of art. They believe that it is necessary to actively direct the child's attention when perceiving works of art, teach him to observe and highlight means of expression.

In the study by N.M. Zubareva on the aesthetic education of children by means of the fine arts considers the following questions: what are the possibilities of aesthetic perception by children of preschool age of art paintings, in particular such genres as still life and landscape; what should be the ways of guiding the development of aesthetic perception in children?

Psychological and pedagogical works on the perception of paintings by preschoolers (S.L. Rubinstein, A.A.Lyublinskaya, N.N. Volkov, G.T. As for his aesthetic perception of still life and landscape, the number of such studies is small. Meanwhile, according to the observations of a number of authors (K.M. Lepilov, E.I. Ignatiev, E.A.Flerina, M.V. Vovchik-Blakitnaya, V.A. V. Savushkina and others), preschool children are able to perceive the landscape aesthetically. Others are of the opinion that the landscape is difficult for such a perception (A.V. Bakushinsky, I.B. Karkadinovskaya, etc.).

If there are contradictory opinions of scientists about the ability of children to perceive a landscape aesthetically, then there is a remark by G.T. Hovsepyan that, devoid of a plot and emotional coloring, he does not arouse interest and pushes children to a simple listing of what is depicted in the picture. In the literature, there are a variety of opinions on the issues of which genre should begin to familiarize children with works of fine art (A.V. Bakushinsky, B.C. Murzaev, V.V. Dobrovolskaya, etc.).

In the study by N.M. Zubareva examines the possibilities of children to perceive in an artistic picture not only its subject-plot content, but also its figurative and artistic meaning, the ability of aesthetic perception of landscape and still life, paintings of everyday genre is highlighted.

According to scientists, in the perception of painting, children give preference to paintings of the everyday genre, to a lesser extent they are attracted by still life and landscape. The plot picture attracts the child with interesting, fascinating content. Moreover, he is like

as a rule, he does not pay attention to its aesthetic aspects. Still lifes and especially landscape painting arouse interest in children by depicting objects and phenomena with color combinations and coloring.

In the paintings of the everyday genre, children are attracted by such themes as heroics, sports, images of animals. Moreover, the boys show the greatest interest in the first two topics, and the girl - in the last. There are children who show a steady interest in any one, specific topic.

When comparing two works of art on the same theme, but solved by artists in different ways, children give preference to paintings written concisely, conventionally, brightly, using the decorative possibilities of color. However, conventionality is accepted by them only up to certain limits: the image, bordering on schematism, provokes their protest.

When looking at a still life, children react emotionally to color. However, some take it very superficially. Some children are able to perceive the elementary foundations of color harmony - they notice what colors the artist combines, how he places paints in the picture. 5-7-year-old preschoolers, choosing the "most beautiful" picture, are able to be guided by aesthetic feelings caused by the brightness of colors, their combination. Perceiving the painting by A. Kuindzhi "Birch Grove", the child motivates his choice by the fact that "there is a lot of sun, warmth in the picture, it is good to walk there and you can run barefoot on the grass, I like this picture." Another painting - "Children running from a thunderstorm" by K. Makovsky - aroused violent emotions, the guys were worried if the girl and her little brother would have time to reach their house: rain, thunderstorm. Even purple colors in the picture, the girl and her brother became cold. "

Children 3-4 years old, perceiving a picture , as a rule, they still do not distinguish aesthetic qualities, they are attracted by the methods of representation ("because they painted with paints"). A child at this age cannot realize and express in words his emotions caused by the elementary aesthetic qualities of the depicted objects. But it is precisely these qualities that attract him, “act and cause joyful experiences.

Landscape painting, which is close to children from their observations of nature, has an emotional and aesthetic impact, which manifests itself in speech when perceiving landscapes. Children find their poetic images to characterize the perceived phenomenon, using metaphors, comparisons and other means of expression. Figurative speech is an indicator of aesthetic experience.

A poetic text, enhancing the impression of the picture and deepening its perception, undoubtedly has a positive impact. The text helps children to consciously perceive the expressive means used by the artist, to see in them the means of characterizing the image. For the development of the child's aesthetic perception of objects and phenomena of the surrounding nature, and on their basis - still life and landscapes in painting, it is important to use music, reading poems by A.S. Pushkin, I.A. Bunin, F.I. Tyutcheva, S.A. Yesenin and others.

So, older preschoolers, in the conditions of systematic work to familiarize themselves with the picture, highlight the moral, cognitive, aesthetic value of its content. Understanding of the social significance of its meaning develops from an unconscious, dismembered perception based on the selection of individual details without their interconnection with the means of expressiveness, to an adequate understanding of the content, motivated by logical connections and means of expressiveness.

A necessary condition for understanding the social significance of the content of genre painting is a personal attitude towards the phenomena depicted in it. It is an indicator of the emotional perception of the work and interest in genre painting, as well as an important factor in the process of socialization of the preschooler's personality, in the formation of the initial foundations of social activity.

Conducted by N.A. Vershinina's research proved that 5-6 years old children have access to the proposed system of knowledge about the composition of paintings, including knowledge about the main components of the artist's compositional activity. Mastering it allows children at a higher level than their peers who have not undergone training to master

This contributes to the accumulation and deepening of various feelings and emotions, the development of empathy. The formation of systemic knowledge about composition provides children with greater independence in understanding works of painting.

N.M. Zubareva distinguishes three levels of aesthetic perception of painting by children.

On first, at the lowest level, the child rejoices at the image of familiar objects that he recognized in the picture. The motive for the assessment is substantive, and in some cases practical, everyday in nature.

On second level, the child begins not only to see, but also to be aware of the elementary aesthetic qualities in the work, which make the picture attractive to him. At the same time, the motive of the assessment is elementary and aesthetic. They evaluate the color, color combinations, shape, individual compositional techniques as beautiful in the picture.

On third, a high level of aesthetic perception, children are able to perceive not only the external signs of the depicted phenomenon, but also internal characteristic artistic image of the work.

The style of the image has a significant influence on the character of feelings. A laconic, brightly colored art picture evokes persistent aesthetic feelings. So, from still lifes children are more attracted by those that, in their artistic characteristics, are close to the works of masters of folk art. Brightness and decorativeness, bold, often contrasting color combinations make them extremely attractive for children. In the genre of everyday life, children are more like paintings painted decoratively, flat, laconic; in the landscape, works are generalized, using the decorative possibilities of color.

In working with children, it is advisable to use works with different interpretations of the artistic image: very detailed, more generalized, conventionally flat, close to folk art. In kindergarten, you must have a selection of art reproductions of different types and genres.

Currently, there is a need for genre research portrait painting... So far, A.M. Shchetinina - studying the understanding of the emotional state of a person by preschoolers, E.Sh. Reshko - considering the development of the child's perception of the action of the person depicted in the picture, T.V. Malova - in the study of fine art as a means of sex-role education of preschoolers.

Of particular interest is the study of V.A. Guruzhapova on the development of understanding by junior schoolchildren of art in the process of teaching painting. It shows that children 7-9 years old are able to understand the figurative structure of works. They develop the ability to distinguish and meaningfully perceive the "semantic zones" of the picture, which can be interpreted according to the internal pictorial connections. The expressiveness of color is always decisive for the emotional impression of the picture, for its assessment, for understanding the content. Children include familiar, vital aspects of reality in their perception of the picture, which makes their understanding of art individual and immediate.